The Discovery of Subaltern: On the Green Group, Wu Yi-Feng and Shen Ko-Shang

本論文以當前的臺灣紀錄片研究為對話對象，透過重探綠色小組的《鹿港反杜邦運動》、吳乙峰與全景映像工作室的《月亮的小孩》、及沈可尚的《噤聲三角》與《築巢人》，這三個在當代臺灣紀錄片研究中的重要事件，釐清當前臺灣紀錄片研究的主流論述是如何構成、如何發揮效力、及當前論述的盲點，並企圖提出新的觀點。 第二章以綠色小組的《鹿港反杜邦運動》作為對象，探討視覺媒介再現「底層」的邏輯。透過對不同版本的比較，指出綠色小組如何塑形底層：首先藉由剪輯，使抽象的底層概念與影像中的群眾身體媒合；此外，藉由科學、法學、人權等普遍論述替換掉地方性與地方知識，以建構「臺灣性」。而透過以上的工程，便形成了「底層的發現」。 第三章以吳乙峰與全景映像工作室的《月亮的小孩》為對象，探討在「寫實」手法之外，臺灣紀錄片的倫理與美學問題。透過比對將「寫實」等同於真實、以及將「寫實」視為特定手法的兩種討論模式，指出在前一種討論模式中被忽略的問題意識：首先是經由剪輯所產生的正常化敘事，如何壓抑了影片中閃現而出的不和諧音；此外，是當寫實手法成為表述真實的唯一手段時，直面他人苦痛便是不可避免的。因此，必須尋求在寫實之外的美學作為一種影像方法論，以調和「知」與「倫理」間的衝突。 第四章以沈可尚的《噤聲三角》與《築巢人》為討論對象，探討在當前臺灣紀錄片研究中被壓抑的視覺性，是如何的具有基進性。在《噤聲三角》中，透過對明確意義的刻意空缺，導演迫使觀眾在企圖解讀的過程中，回到真實世界中進行索引，並反身性的認知到自己與此陌生土地的關係。而在《築巢人》中，則是透過音畫分離的美學手法，企圖處理「知」與「倫理」間的衝突，以便在顧及紀錄倫理的狀態下，忠實呈現自閉症患者與家人的生命狀態。兩部作品皆是透過美學處理、克服以往紀錄片所未能處理的問題意識與倫理難題。 最後綜合以上研究，藉由重探的寫作方式，在指出在臺灣紀錄片研究中既有論述的建構性與特定性、從而解消此一論述的普遍性與優位性外，亦嘗試提出一個新的觀點，來重啟與更新臺灣紀錄片研究的討論。In this thesis, I take the discourse of new Taiwan documentary as the subject of discussion, and review the Green Group's Anti-DuPont Movement in Lukang, Wu Yi-Feng's Moon Children, and Shen Ko-Shang's Silent Delta and A Rolling Stone. By reviewing these crucial events of contemporary Taiwan documentary studies, I try to figure out how the discourse constructed, functioned and its blind-spot, and thus propose a new perspective. Chapter Two uses the Green Group's Anti-DuPont Movement in Lukang as the main subject of discussion, and explores the logic of representation of Diceng (subaltern) on visual medium. By comparing the different version of Anti-DuPont Movement in Lukang, I want to indicate how the Green Group shaped subaltern. First, by editing the image of street demonstrations and protestors in, the abstract concept Diceng can incarnate itself in those image. Additionally, by replacing locality and local knowledge with universal discourse like science and human right, thus this film constructed Taiwaneseness. And I call this process 'the discovery of subaltern'. Chapter Three uses Wu Yi-Feng's Moon Children as the main subject of discussion, and focuses on ethical and aesthetic issue of new Taiwan documentary. By comparing two different attitude toward this work—taking realism as real, or taking realism as particular way of expression, I want to bring up problematics that had been ignored in previous discussion. First, how the normalization narrative suppresses the alterity of others. Additionally, when realism became the only means of re/presenting real, facing and shooting the pain of others is an inevitable consequence. Thus, I suggest that we should seek the aesthetics besides realism as a methodology, to reconcile enlightenment role with ethical issue of new Taiwan documentary. Chapter Four uses Shen Ko-Shang's Silent Delta and A Rolling Stone as subjects of discussion, and argue that visuality is radical and necessary in contemporary Taiwan documentary. In Silent Delta, by suspending the definite meaning, Shen forces audience to interpret this work without clear information. Therefore, when audience try to interpret it, they have to take reality as external reference, thus recognize the alterity of these isles reflexively. Then in A Rolling Stone, by separating audio and visual, Shen tries to reconcile the conflict between documentary's enlightenment role with ethical issue. Through aesthetics, these two works are both overcoming and dealing with problematics and ethical issue that the previous documentaries can't do. In short, by reviewing these crucial events of new Taiwan documentary studies, this thesis points out the particularity of this discourse, and how it was constructed. Thus, the universality and superiority of this discourse can be deconstructed. Furthermore, by proposing a new perspective and framework, this thesis attempt to reboot and renew Taiwan documentary studies.第一章 緒論 1 第一節 研究動機與問題意識 1 第二節 研究範疇與方法 2 第三節 先行研究與文獻回顧 4 第四節 各章內容概述 6 第二章 「底層的發現」：視覺媒介再現底層的邏輯 9 第一節 「底層的發現」 9 第二節 底層的塑形 12 一 底層的身體 13 二 地方性與地方知識 15 第三節 小結 16 第三章 在寫實之外：臺灣紀錄片的倫理與美學問題 18 第一節 全景的前世今生 18 第二節 寫實之外 24 一 正常化敘事 24 二 紀錄倫理 26 第三節 小結 28 第四章 沈可尚音像創作的美學基進性：以《噤聲三角》與《築巢人》為例 30 第一節 從《島嶼邊緣》到島嶼邊緣 31 第二節 如何觀看他者的不幸？ 35 第三節 小結 37 第五章 結論 39 第一節 章節回顧 39 第二節 論述與實踐：一個「時差」的觀點 40 參考資料 4